UNI-

JIL SANDER A/W 2011 - LUC TUYMANS 'TILES', 2005

1:2 SKIMMED

"MILK SHOES" , PATRICK TOSANI. 2002

With MILK SHOES series, Patrick Tosani tries to explore the possibilities of shoes as bodies or envelopes. "The body is absent yet is embodied by milk, which infests the form and flows into the environment. " P.T

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PARTISANS

COLLAGE BEGÜM SEKENDiZ BORÉ // LAYER 1 WILHELM SASNAL, PARTISANS, 2005 , OIL ON CANVAS // LAYER 2 PIERRE DEBUSSCHERE, RAF SIMONS A/W 2011 CASTING FILM

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3/4 PROFILE OF AN HENRIK VIBSKOV MODEL

LEFT CHINESE ACUPUNCTURE MANNEQUIN, MUSÉE DE L'HOMME ,PARIS // RIGHT HENRIK VIBSKOV A/W 2011

GENIUS LOCI / HE NEVER WORE HIS HEART ON HIS SLEEVE ,NEVER. HE WORE HIS ROOF ON HIS CHEST INSTEAD.

GENIUS LOCI: PERVADING SPIRIT OF A PLACE // LEFT JIL SANDER A/W 2011 // RIGHT THE CHAPEL OF NOTRE DAME DU HAUT, 1954, LE CORBUSIER.

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SHUTTLECOCK BOY

PHOTO BEGÜM SEKENDiZ BORÉ

CIRCLING OVERLAND / A FILM FOR RAF SIMONS

LEFT / TITLE CIRCLING OVERLAND / CLIENT RAF SIMONS / MODEL HIDDE / DIRECTOR JEAN-FRANCOIS CARLY / CINEMATOGRAPHY JEAN FRANCOIS CARLY / FILM EDITING MAXIM YOUNG / / / / RIGHT / PHOTO MARIO SORRENTI RAF SIMONS S/S 2003 / STYLING PANOS YIAPANIS / ARENA HOMMES PLUS # 18

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peek-a-boo / ROMAIN KREMER

LEFT DIRK BRAECKMAN, G.P.-P.O.-09, 2009 ,180 x 120 cm, gelatin silver print mounted on aluminium... RIGHT... BEGÜM SEKENDiZ BORÉ, Romain Kremer A/W 2011 show

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dysmorphic

Lillian Bassman, MEN, 1980, cibachrome prints, 48 x 60 inches

" In 2002 I had an exhibition of these images. Everybody came to the exhibition excited; they were going to see a Lillian Bassman show. And they looked at it and said, ‘This isn’t fashion.’ So nobody bought anything. Nobody bought a thing. "In the early 1980s Lillian Bassman started re-photographing images of male bodybuilders she found in muscle magazines. Shooting in color, she would pose the figure so that it was reflected in a mylar material that produced visual distortion. The results were in sharp contrast to the fashion work that she was known for. In 2002, almost twenty years after they were taken, the Ricco/Maresca gallery exhibited them. The show, titled MEN, went unnoticed by critics accustomed to her fashion work. For Bassman, this project gave her a sense of independence. Having voluntarily left editorial fashion work behind in the 1960s, she had continued to shoot commercially. However, her passion for portraying the human form and discovering new techniques never diminished. source/ thislongcentury.

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sisters of mercy t-shirt, Panos Yiapanis' own

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the non face

IF THE FACE IS A BLANK CANVAS PAINTED BY LUC TUYMANS (HERITAGE 1, 1995,LEFT), THIS IS HOW IT LOOKS LIKE AFTER PROFESSIONAL MAKE-UP BY PIERRE DEBUSSCHERE (RIGH). PIERRE WILL NOW GIVE US A MAKE-UP TIP TO REDUCE THE SPACE BETWEEN THESE QUITE WIDE-SET IMAGES.

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the non face 1

COLLAGE BEGÜM SEKENDIZ BORÉ

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